SemioNerd

1000 Days of Syria.

According to Huizinga's Homo Ludens, war shares many characteristics with play. Undoubtedly war games are one of the widest games genres, ranging from chess to Call of Duty, counting thousands of titles. In an age of relative peace it has become clear that enjoying war in a playful way has nothing to do with raising young soldiers, but covers, more likely, a metaphoric function representing everyday struggles against life, at work, at school and in family.

War in games is often fictional, and even when it's inspired by a real war it is represented in a very stereotypical way. That's why the Nazis are so widely exploited in games and fiction: they are perfect example of stereotypical villains in the real world.

Reality is more complicated and real contemporary wars are a very delicate subject that can't be handed lightly. War games set in conflicts still happening would be politically incorrect, disrespectful or even dangerous.

On the other hand games about ongoing conflicts can be very interesting and instructive. It's the case of 1000 days of Syria a text based historical fiction game. The author, journalist Mitch Swenson, has been in Syria in September 2013 and what he saw was so enormous confronted to the lack of interest for this conflict in the West, that he had to do something. That's how 1000 Days of Syria is born.

Says Swenson: “My intention is neither to entertain players with, nor benefit from, the deaths that have resulted from the instability in Syria. In fact my aim is just the opposite. Sometimes the word "game" can be misconstrued into something that seems removed and reductive in the context of real life danger and death. In that way some might say that 1000 Days of Syria should not be considered a game at all, but rather an interactive education. That is for you to decide.”

I played this game, this “exercise in transmedia storytelling, part electric literature; part newscast; and part choose-your-own-adventure” and it literally broke my heart. It is not particularly pathetic, or tragic, if so it wouldn't work. It is simple and sincere and with its clean narrative can make you feel and live the Syrian war. When the game starts you cross the Syrian border. And with “you” I mean the player, not his or her character. What you see after the crossing will never leave you, it will follow you at the end of the game and accompany you in your everyday life, wherever you live. 1000 Days of Syria is an overwhelmingly immersive game or, at least, it has been to me.

Mitch Swenson is reluctant to call hi creature a “game”, word that too often is associated to something opposite to “serious”. In my opinion serious games like this are probably the better way to look and understand conflicts that, even if far away, can be also very close.

I would like to thank Gabriele Ferri for suggesting me 1000 Days of Syria.